S C R E 5 M
by scriptedZombie
Summary: Following the events of the last film, GHOSTFACE is rebooting his killing franchise and thinks it's time to recast his group of main cast survivors by putting them through tests of both, their strength, and faith.
1. Author's NOTE

S C R E** 5** M

**AUTHOR'S NOTE**

**DISCLAIMER:** I do not own any of these characters, or references to the SCREAM franchise. This is just merely an imagining of a story that I've been passionate about since I knew what the horror genre was.

**TO THE READERS:** If you've clicked on this page, then you are curious as to entering the world of SCREAM 5 through my eyes. As fans, we know the next film won't be on the way for a great while, as Wes is currently vacationing with his family, and letting the impact of his returning horror gem settle into what will be an endless future of perfection. Yes, we want another movie, another story, and another chance to see the characters of Sidney Prescott, Dewey Riley, and Gale Weathers-Riley survive and persevere through another battle with the ghost that never dies.

The surprise of the last film was that each of our beloved main characters didn't die, as we so expected to happen. I believe Kevin Williamson has greater intentions for these characters, and that's why we haven't yet seen them perish in the same way as the rest of their peers.

This is where my story comes in…

I believe in the history of SCREAM, and the way Williamson portrays his characters. In a world where Sidney Prescott does not exist, there would be no SCREAM or GHOSTFACE for that matter. His image will live on, but what kind of story would he try to tell, without his main character.

This is my story. Picking up after the events of the SCRE4M film, GHOSTFACE is very much a character of his own, and not just a teenager behind a mask. GHOSTFACE has higher expectations now, as the rules of a trilogy are changing. In the process of Hollywood normalcy, it's time to create a reboot franchise for his characters. GHOSTFACE now sees his antics as the creation of his own film, and the first formation of his plot is to recast his characters that we've come to love so much, especially his favorite heroin, Sidney Prescott. Only the goal isn't to recast Sidney, but to pass the torch over to someone who is as brass and brave as she is. Dewey and Gale have always been expendable, but haven't been killed for a purpose much greater to the plot of GHOSTFACE'S plan, that we won't see come to fruition right away.

I welcome all who are interested to follow my journey, as I imagine my way through a SCREAM that might not be what is made in the future, but what we deserve as a group of cult following fans.

Please REVIEW. I welcome good ideas and constructive criticism. This isn't going to be your typical FanFiction. I am actually a writer, and love to build suspense, so if you expect everyone to just get gutted within the first 20 pages, then you are reading the wrong story.

Otherwise, enjoy!

**NOTE: This story will be in a SCREENPLAY format, as best as it can be, since this website's formatting functions aren't necessarily SCRIPT friendly.**


	2. PAGES 1 through 9

**S C R E 5 M**

SMASH CUT TO:

INT. SIMONE'S HOUSE - NIGHT

A ringing phone.

On the sofa nearby is a young SIMONE CREED. She has a book at eye level, called "OUT OF DARKNESS", with a picture of a fresh faced woman on the cover, which seems to embody an iconic essence.

SIMONE'S concentration breaks, and she reaches for the phone.

SIMONE  
>(STILL READING)<br>Hello?

THE VOICE  
>(SINISTER)<br>Hello.

SIMONE  
>May I ask who's calling?<p>

THE VOICE  
>You could; but what would be the fun in that?<p>

SIMONE puts the book aside.

SIMONE  
>If I didn't know any better, I'd say this is a raspier than usual Ghostface.<p>

THE VOICE  
>Do you?<p>

SIMONE  
>Do I what?<p>

THE VOICE  
>Know any better.<p>

SIMONE stands and walks into the kitchen. She pulls out a cigarette from a wrinkled pack on the counter, and lights it.

SIMONE  
>(INHALING)<br>I think I do.

THE VOICE  
>Thinking's for IQ tests – do you know better or don't you?<p>

SIMONE  
>Depends on the situation.<p>

THE VOICE  
>Oh. Good answer.<p>

SIMONE  
>Did I impress mister Ghostface?<p>

THE VOICE  
>You did.<p>

SIMONE  
>Oh really? What was so impressive?<p>

THE VOICE  
>Confidence. It's exactly how a heroin would respond.<p>

SIMONE  
>A heroin, huh? Is that what I sound like to you?<p>

THE VOICE  
>That's what you are, if I need you to be. I'm auditioning new roles for my movie.<p>

SIMONE  
>A new cast so soon? I thought you already knew about breaking the rules of an original.<p>

THE VOICE  
>It's a reboot.<p>

SIMONE  
>Tsk tsk, mister Ghostface. You should know better than to reboot a franchise in the same decade as its latest installment.<p>

THE VOICE  
>Don't count it out so soon. I've got big plans for this picture.<p>

SIMONE  
>Yea, I'm sure that's exactly what Marvel told Raimi before they typed the termination letter.<p>

THE VOICE  
>This movie's different. It's like the script is writing itself. Raimi didn't exactly have the creative control that I do.<p>

SIMONE  
>And what makes you so powerful?<p>

THE VOICE  
>Decent investors, and a big budget. By the way, you might wanna ash that.<p>

SIMONE'S eyes widen, as she realizes she's being watched.

THE VOICE  
>What's wrong? Nervous about the audition? Don't worry, I'm sure you'll do fine. Not many girls left in Woodsboro that are into the horror genre; let alone, ones' that can survive to be the reoccurring star.<p>

SIMONE throws her cigarette into the sink, and goes to lock the front door.

THE VOICE  
>Don't bother, it's locked. I already tried. See, you still continue to impress.<p>

SIMONE  
>I have to go now. It's been great talking to you.<p>

THE VOICE  
>Aw, hanging up so soon? Come on, I was just starting to like you. It's always good to leave a lasting impression on your director.<p>

SIMONE  
>I'm not an actress.<p>

THE VOICE  
>You are now. I need an unknown name, celebrities are too vulnerable, and have no will to live. They're lonely and no one cares. I need someone the world cares about, till you fuck up, and taint your reputation.<p>

SIMONE  
>But I'm not an actress.<p>

THE VOICE  
>Consider this you being discovered. You nailed your audition, now it's time for the screen test.<p>

A piece of paper slides under the front door. SIMONE is frozen in place, and cannot decide whether to retrieve it.

THE VOICE  
>Take it. It's just a side – wouldn't want the actual script getting out and ruining the ending. We've got a lot of pressure on our shoulders to make this one work, Simone.<p>

SIMONE  
>How do you know my name?<p>

THE VOICE  
>You never cast your leading lady without at least reading her bio. Now go on, read it.<p>

SIMONE  
>What if I don't?<p>

Silence on the other end.

THE VOICE  
>(EERIE WHISPER)<br>Do it.

SIMONE  
>Fuck you! If you really are Ghostface, then why haven't you killed me yet.<p>

THE VOICE  
>I told you Simone, I've got big plans for you. Your face is really going to take you places. You could even be a bigger star than my current prodigy. She's still history in the making. I see you're a big fan.<p>

SIMONE turns around and notices her novel standing upside on the kitchen counter.

SIMONE  
>How did you…?<p>

THE VOICE  
>You feel that in the pit of your stomach? That isn't fear; it's fire and talent!<p>

The door CRASHES open from behind SIMONE, and GHOSTFACE gets a grip around her.

She struggles, and very quickly realizes the potential weapon she bares.

SIMONE smashes the phone into GHOSTFACE'S mask. He grunts and falls to his side, allowing SIMONE to get away. She runs into the kitchen and shields herself with a large blade. When SIMONE turns back to GHOSTFACE, he is gone.

The phone rings from across the floor.

SIMONE is making no sudden movements to answer, so the phone continues to ring.

With the knife held in a firm grip, she makes her way to the phone and answers.

THE VOICE  
>(LAUGHING)<br>Welcome to the cast!

SIMONE  
>(DISTRAUGHT)<br>Why? Why me?

THE VOICE  
>I need a new Sidney. Think of tonight as your initiation.<p>

SIMONE  
>Sidney? What does Sidney have to do with this? And with me?<p>

THE VOICE  
>It's ALL about Sidney. Always has been. But now, it's about you. Enough time has passed, and she needs to be brought another message.<p>

SIMONE  
>What message?<p>

THE VOICE  
>You.<p>

The lights go out.

SIMONE panics, and begins to stumble over furniture. She keeps an eye on the open front door, and debates making her move, but fear makes the best of her.

Instead she continues to stumble backward, and bumps into the basement door.

SIMONE reaches behind her for the knob, and turns it open. From the doorway GHOSTFACE forces his large hunting knife into her back!

She screams as the blade exits.

SIMONE drops to the floor. GHOSTFACE hovers, raising the blade into the air, as she finds strength within herself and stabs him in the leg.

GHOSTFACE drops to his knees, and SIMONE acts quickly, kicking him directly in the face. He falls into the blackness of the basement, and crashes loudly down the trail of stairs.

SIMONE struggles to stand. She grips the wall for balance, and notices the bloody hunting knife at her feet.

CUT TO:

EXT. SIMONE'S HOUSE – CONTINUOUS

SIMONE exits with a stiff limp. She's clutching the hunting knife so tight, that her fingers are flushed in a purple color of suffocation.

Blood gushes from the wound in her lower back, down her leg. She would seem to be defeated if she wasn't so victorious in the presence of her stance, and her head held high.

CUT TO:

EXT. STREET – MINUTES LATER

The air is thin and alone. The neighborhood is lifeless in a chilled midnight of sleep.

SIMONE moves slower. The amount of blood loss has her weak. Still with the hunting knife clutched tight, a light reflects off of it from a near distance.

A police car approaches, with a spot light highlighting her abused figure.

The police officer stalls the car a few paces ahead of her, and exits. He approaches her slowly, hand at the ready to draw his weapon, and his other in the air making a motion of surrender.

OFFICER  
>Miss, are you alright?<p>

SIMONE is in a zombie state. She stops.

OFFICER  
>I can help you.<p>

SIMONE makes no eye contact. She focuses on a crack in the cement.

OFFICER  
>If you could just hand that over, I'll get you some help, okay?<p>

SIMONE'S hand trembles from holding the knife so tight for the period of time.

The OFFICER tenses up, and is ready to act if she makes any grave attempts.

OFFICER  
>I'm gunna come closer, alright?<p>

No response.

The OFFICER edges toward her, never releasing his readied hand from his holster, until he reaches SIMONE and carefully pulls the hunting knife from her clutches.

OFFICER  
>(RELIEVED)<br>There that's better. Now let's get you cleaned up.

CUT TO:

INT. POLICE CAR

ANGLE on the jagged hunting knife in the passenger side - the blood stains are starting to dry along the edge.

SIMONE is dazed in the prison of the back seat.

The OFFICER is watching her through the rear view mirror. He doesn't know how to approach the situation with a question.

OFFICER  
>You okay?<p>

SIMONE doesn't look up from the floor.

OFFICER  
>Do you talk?<p>

No response.

OFFICER  
>It's ok, I talk enough as it is. I could probably speak for the both of us and still have more shit to complain about.<p>

SIMONE blinks.

OFFICER  
>You look like you're in pretty bad shape. Boyfriend?<p>

SIMONE  
>(WHISPER)<br>No.

The OFFICER smiles.

OFFICER  
>She speaks.<p>

SIMONE picks up gaze, and looks out of the window. She winces at the sudden movements.

OFFICER  
>How bad are you hurt?<p>

The OFFICER'S gaze PANS down her leg and notices the blood gushing onto the seat from behind her.

OFFICER  
>Fuck. Put on your seat belt; we'll be getting to the hospital quicker than I thought.<p>

SIMONE obeys, making very slow movements, careful not to aggravate the wound any further.

The POLICE CAR heightens its speed, barreling down the road through stop signs.

The OFFICER looks back in the mirror at SIMONE, assessing her blood continuing to flow out.

OFFICER  
>You should put some pressure on that wound. You're gunna bleed to death.<p>

Looking in the mirror at SIMONE, the OFFICER doesn't notice the oncoming car heading directly at them in the windshield.

CRASH!

The POLICE CAR flips forward and lands on its head, sliding inches away from the opposite vehicle.

For moments, there is only silence, then…

EXT. STREET - CONTINUOUS

SIMONE chokes out. She's strapped in, upside down. Her hair is tangled in the broken window.

As she attempts to untangle, blood drains from her wound, and makes its way up her face and stains the lightness of her hair.

SIMONE wipes her eyes clean and notices she's alone in the car. The OFFICER is nowhere in sight.

She releases the safety belt and lands on the reverse roof.

SIMONE crawls slowly onto the concrete, leaving a blood trail following behind.

A hand takes hold of her shoulder. She tries to scream, but nothing can escape her.

OFFICER  
>It's ok. It's me.<p>

SIMONE struggles for a moment until the voice registers within her. She turns and is greeted by a familiar, now blood stained face, only this time, there's five inches of the blade of a hunting knife protruding from the OFFICER'S forehead.

GHOSTFACE throws the body of the OFFICER aside and moves closer to SIMONE.

A clean hunting knife slides out from the sleeve of his robes, and he bends down to grab her.

SIMONE is far too weak to fight him away, so she just surrenders herself to fate.

GHOSTFACE puts her down and brings a round device to the mouth of his mask.

GHOSTFACE  
>Congratulations Simone, you made the cut. You'll do the Prescott family proud.<p>

He places the book "OUT OF DARKNESS" on her chest.

GHOSTFACE  
>I hope you survive to deliver my message.<p>

GHOSTFACE brings up the knife and forces it down into SIDNEY'S face. The image on the book begins to bleed.

CUT TO BLACK:

S C R E 5 M


	3. PAGES 10 through 19

**EXT. CEMETERY – DAY**

ANGLE on a headstone that reads: **"JILL ROBERTS – DEVOTED DAUGHTER, COUSIN, AND FRIEND – ONLY A BRAVE SOUL DIES AT THE SWORD OF AN UNBEATABLE FIGHT OF THE MIND"**.

SIDNEY PRESCOTT is alone, holding a flush of the reddest roses. She's been here awhile watching the stillness of the grave.

If the sky could tell a story, today, it would be a happy one.

**SIDNEY**  
>You didn't want what I had, you<br>just wanted a way out of a shadow  
>that didn't belong to you. I'm<br>sorry. My life hasn't exactly been  
>the spark of gold you may have<br>thought it was, especially for the  
>people around me.<br>**(TAKES A DEEP BREATH)**  
>I wish you didn't feel you had to<br>find someone else's fame to realize  
>that you had your own voice.<p>

The wind begins to whistle around her, as SIDNEY bends to place the flowers in front of a picture of JILL, engraved in the bottom of the headstone.

**SIDNEY**  
>I don't hold it against you.<p>

She turns and walks against the breeze.

**CUT TO:**

**INT. CAR – CONTINUOUS**

SIDNEY gets into the passenger seat next to NEIL PRESCOTT. His hair is an ash grey, with a reassuring smile that fights to lift her gaze.

**MR. PRESCOTT**  
>You know, I haven't driven you<br>around in this car since you were  
>in high school.<p>

She closes the door, pondering in thought.

MR. PRESCOTT observes the process of her thinking through her distracted facial expressions.

**MR. PRESCOTT**  
>You alright, kid?<p>

**SIDNEY**  
><strong>(BREAKS TRANCE)<strong>  
>I'm fine, dad. Let's get breakfast.<p>

The car roars to life and drives off into a cloud of graves.

**MR. PRESCOTT (V.O)**  
>You're paying.<p>

**CUT TO:**

**INT. DEWEY & GALE'S HOUSE – DAY**

In a perfectly furnished living room, where everything has its place, GALE WEATHERS sits at her corner desk, typing furiously at a keyboard.

She hits the last letter.

**GALE  
>(SURPRISED)<strong>  
>Oh my god.<p>

**DEWEY (O.S)**  
>What happened?<p>

GALE'S expression widens, as if she's in too deep of a shock to realize someone's talking to her.

**GALE**  
>Oh my god.<p>

**DEWEY (O.S)**  
>What the hell's going on out there?<p>

**GALE**  
>I did it.<p>

DEWEY exits from the bathroom in full Sherriff garb.

**DEWEY**  
>Did what?<p>

GALE turns to him, still in total shock.

**GALE**  
>I finished the book.<p>

DEWEY rolls his eyes and walks into the kitchen.

**DEWEY**  
>What's the title this time? "Woodsboro:<br>The Place That Never Dies".

**GALE  
>(CAUTIOUS)<strong>  
>Doesn't that sound good?<p>

DEWEY leans against the bridge between the living room and kitchen.

**DEWEY**  
>It's perfect Gale – sounds to be as<br>equally offensive as the last.

GALE turns back to the computer and scrolls through the text.

**GALE**  
>Good.<p>

**DEWEY**  
>And she's back.<p>

DEWEY'S cell phone rings from his pocket. He answers.

**DEWEY**  
>Riley.<p>

An inaudible voice responds.

**DEWEY**  
>Alright, I'm on my way.<p>

GALE pays the urgency in his voice no attention.

**DEWEY**  
>I gotta head to the hospital.<p>

DEWEY grabs his jacket and Sherriff's hat off the table, and walks over to GALE to kiss the back of her head.

**GALE**  
>What happened?<p>

**DEWEY**  
>That girl, last night from the car<br>accident...she's awake.

GALE jumps to her feet, still keeping attention on the screen.

**GALE**  
>Hold on, I'll be ready in a minute.<p>

DEWEY laughs.

**DEWEY**  
>It wasn't intended as an invitation,<br>Gale.

GALE brushes passed DEWEY into their bedroom.

**GALE**  
>With you, it never will be.<p>

**CUT TO:**

**INT. HOSPITAL – DAY**

We PAN through a corridor that's compiled with white suites, and overly sensible shoes.

A room nearby catches our attention, as we ease inside.

KIRBY REED is sitting at the edge of a heightened bed, having a thick scar on her abdomen observed by a nurse.

**NURSE**  
>Feel any pain when I press here?<p>

The NURSE presses into the scar. KIRBY has no reaction.

**KIRBY**  
>No, not at all.<p>

The NURSE straightens up, and starts writing on a clipboard.

**NURSE**  
>Ok Ms. Reed, looks like you've<br>healed quite superbly. Now I still  
>wouldn't recommend that you do any<br>type of overly strenuous activity  
>for another couple of weeks, but<br>for the most part, you're in great  
>health.<p>

**KIRBY**  
>Fantastic. Hey, can I ask you<br>something?

**NURSE**  
>Sure.<p>

**KIRBY**  
>I've kinda been having trouble<br>sleeping...

The NURSE nods, as if she already knows where she's going with her question.

**NURSE**  
>I'll prescribe you something. It's<br>a pretty weak dosage, so if you don't  
>feel the effect within the hour, take<br>another, but no more than two at a  
>time.<p>

The NURSE writes up the prescription and hands it to her.

**NURSE**  
>I didn't give you any refills, so if<br>you're still having difficulty in the  
>next couple of weeks, just set up an<br>appointment and I'll write you  
>another.<p>

KIRBY nods.

**NURSE**  
>Any questions?<p>

**KIRBY**  
>No, I think I'll be ok from here. Thank<br>you for everything these past couple  
>months. I just can't seem to function<br>properly.

**NURSE**  
>Trauma is a tricky circumstance. If you<br>need anything, you have my cell – give  
>me a call.<p>

**KIRBY**  
>I think I just might have to. I feel like<br>I'm going crazy.

KIRBY wraps her purse around her shoulder and edges slowly toward the door.

**NURSE**  
>And don't forget, suffering is just<br>a reminder of how human we really are.

KIRBY smiles and walks out.

**CUT TO:**

**EXT. HOSPITAL – DAY**

A SHERRIFF'S car pulls up with DEWEY and GALE inside. They are in the middle of a conversation.

**GALE**  
>It's still a story Dewey. How is<br>anyone supposed to be informed if I  
>don't inform them?<p>

DEWEY is obviously annoyed, as this argument has been made before.

**DEWEY  
><strong>You're not interviewing her; end of  
>story.<p>

DEWEY exits the car and heads toward the direction of the hospital entrance. GALE hops out and follows.

**GALE**  
>Ok, I 'X' the interview...can't I<br>just sit in on your interrogation  
>or something?<p>

**DEWEY**  
>No.<p>

**GALE**  
>Come on Dewey – how about you<br>unclench that tight wad of bullshit  
>between your ass cheeks and let me<br>do this the right way this time.

He turns around.

**DEWEY**  
><strong>(WHISPERS LOUDLY)<strong>  
>GALE!<br>**(CALMS DOWN)**  
>I said no. Wait in the car. <p>

DEWEY walks into the hospital, as GALE motions her fists in frustration.

**GALE  
>(TO HERSELF)<strong>  
>There couldn't be a bigger mistake<br>than marrying a cop.

Just as GALE turns to walk back to the car, KIRBY exits the hospital and recognizes her.

**KIRBY**  
>Gale?<p>

She turns around, and is in mixed emotions of whether or not to be surprised or concerned of KIRBY'S presence outside of WOODSBORO HOSPITAL.

**GALE**  
>Kirby? Oh my god! How the hell have<br>you been?

They embrace.

**KIRBY**  
>Okay, I guess. Alive, or so my brain<br>seems to have me convinced.

**GALE**  
>That's the tradition of Woodsboro<br>logic; what doesn't immediately kill  
>you, only makes you wanna die.<p>

They both share an uncomfortable chuckle. KIRBY changes the subject.

**KIRBY**  
>How's Sidney doing? I've seen her<br>around school, but haven't really  
>been able to make an official<br>approach yet.

**GALE**  
>She's good. The murders are almost<br>like summer vacation at this point.

GALE laughs. KIRBY shifts in silence.

She figures that wasn't an appropriate way of phrasing her unique humor.

**GALE**  
>Well...you shouldn't be afraid to talk<br>to her about anything. Sid has most  
>definitely mastered the coping<br>mechanism.

KIRBY is clearly uncomfortable. As her eyes shift around, she notices a wide scar peeking out of the collar of GALE'S shirt.

**KIRBY**  
>Healing well?<p>

GALE closes the top of her buttons.

**GALE**  
>I guess I learned that thick-skinned<br>isn't just a witty phrase after all.

KIRBY smirks.

They sit in another extended silence before KIRBY breaks, and inches toward her car.

**KIRBY**  
>Well, I really should get going. I'll<br>see you around, I'm sure.

**GALE**  
>That's me – always around.<p>

KIRBY is almost to her car, when GALE suddenly feels like she has more conversation to offer.

**GALE**  
>Hey Kirby, wanna get a coffee?<p>

**CUT TO:**

**INT. HOSPITAL ROOM – SAME MOMENT**

With a room just as pale as her skin, SIMONE CREED blinks as the above light flickers in her view path.

DEWEY enters conscious enough to knock along the wall first as he approaches the bed.

**DEWEY**  
>Hello Simone! My name's Dewey. How<br>are you today?

SIMONE analyzes him carefully before answering.

**SIMONE**  
>I'm alive.<p>

**DEWEY**  
>You sure are. Can I get you anything?<p>

**SIMONE**  
>Is that supposed to help me warm up<br>to you before I'm railed with your  
>cop questions? No, I don't know who<br>he was, and yes, I was smoking in  
>my mom's house. She'd kill me if she<br>knew, but I've been thinking; why  
>not let it out now while I'm still a<br>crowded pile of pity.

DEWEY holds back a chuckle.

**DEWEY**  
>You think you could give me a<br>description of the suspect?

**SIMONE**  
>Hmm, that's tough. Oh, I know...<br>ghost mask, black boots, hunting  
>knife. He sure as hell wasn't<br>wearing a pink breast cancer pin on  
>his breast. What else do you want to<br>know, that you already have the answer  
>to?<p>

DEWEY gives her a long stare.

**DEWEY**  
>Still don't want anything?<p> 


End file.
